September 2013 - Art World News

Transcription

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Art World News
SEPTEMB ER 2013
THE INDEPENDENT NEWS SOURCE
LYRICAL FINE ART,
A NEW PUBLISHING
COMPANY, IS LAUNCHED
POD EXCHANGE ADDS
MORE OPEN EDITION
PRINT PUBLISHERS
James LaMantia and
Robert Bluver have officially launched Lyrical Fine
Art, formerly LaMantia Fine
Art, representing the work of
four artists: Daniel Del
Orfano, Cathy Nichols,
Tim Gagnon, as well as
Chris Collins, known for
his Top Dogs. Their objective as a global publisher is
to introduce the work of
artists that enjoy telling a
story. See page 18.
With these new additions,
POD Exchange facilitates
the secure delivery of copyrighted artwork files from
16 open edition print publishers directly to retailers
with in-house, wide format
on-demand printing
capabilities for fine art
reproductions. Turn to
page 22 for full article.
Westport River Gallery in Westport, CT, in business nine years.
DETAILS OF A FRAME
DESIGN: FRAMING
SMALL WORKS OF ART
It’s a shame when framed
art appears insignificant
simply because it’s small.
In his latest column, Greg
Perkins describes why
different framing guidelines
should be applied to small
works of art. See page 32.
Amazon.com Inc.’s launch in early August of Amazon Art is a
hot topic of conversation in the art industry. Galleries, dealers,
and publishers are weighing the potential affects of the online retail giant moving into the business of selling art, including paintings, original prints, and reproductions—art that falls
within the purlieu of work typ- 40,000 works of fine art
ically sold by brick-and-mor- from over 150 galleries and
tar galleries, as well, of dealers, with artworks from
course, as other outlets like more than 4,500 artists.
cruise ships, auction houses, Consumers purchase the art
and eBay. At its launch, Ama- online, and the fulfillment is
zon Art (www.amazon.com/ carried out by the gallery or
continued on page 14
art) presented more than
ARTIST PAMELA SUKHUM
EXPANDS THE
BEAUTIFUL PROJECT
Focusing on the healing
power of making art, Pamela
Sukhum rolls out her mobile
studio ArtVentures. Page 48.
AMAZON ART:
FRIEND OR FOE?
QUOTE OF THE MONTH:
“Brick-and-mortar shopping is
done for the experience. I just
don’t know the future of art sales
online. Open editions, yes. But
the kinds of things we sell as
dealers and galleries, I don’t
know.”
Greg Bloch, page 47
*Ad Template-revised_Layout 1 6/10/13 1:51 PM Page 1
*Ad Template-revised_Layout 1 7/25/12 11:59 AM Page 1
Lyrical-SEP13_Layout 1 9/6/13 1:56 PM Page 1
Tim Gagnon “Between the Red”
Original Acrylic on Canvas 24 x 36”
Daniel Del Orfano “Our Paris”
Hand Embellished
Limited Edition Canvas
44 x 24 and 32 x 18”
Cathy Nichols “Shelter”
Original Acrylic on Board 22 x 28”
(631) 787-8585
Ferjo “Fiddler”
Limited Edition Canvas 24 x 20”
WWW.LYRICALFINEART.COM
SEP13-toc_Layout 1 9/19/13 11:49 AM Page 1
INSIDE THIS ISSUE
DEPARTMENTS
ARTISTS & PUBLISHERS
Page 10
FRAMING
Page 26
DETAILS OF A
FRAME DESIGN
Page 32
ART & BUSINESS
Page 34
WHAT’S HOT
IN OPEN EDITIONS
Page 40
OPEN EDITIONS
Page 43
CALENDAR
Page 44
VOLUME XVIII
ISSUE 8
POD Exchange’s
Newest Additions
Survey: Bright Spots
For Framers
Getting Honest
About Consigned Art
Chris Moseley, President of
POD Exchange LLC., has
announced the addition of
five new art publishers and
three new artists to its roster
of print-on-demand options.
According to research conducted by Unity Marketing,
the top three factors that influence where a consumer
chooses to frame are: Trust,
confidence, and materials.
Industry veteran Cristi Smith
discusses the topic of consigned art and all of its pros
and cons, as well as the
best way to approach a new
agreement to consign.
Page 22
Page 26
Page 34
What’s Hot in
Open Editions
Calendar:
Industry Events
Art & Healing:
Pamela Sukhum
In this month’s What’s Hot
in Open Editions, we feature
a variety of the latest best
selling images from the
month of August, as well as
publisher contact information.
The Fall season is a busy time
for art shows in the industry,
such as Spectrum New York,
Affordable Art Fair NYC,
Toronto International Art Fair,
and many others.
Artist Pamela Sukhum focuses
on what the creative process
can contribute to healing children traumatized by war and
sickness, as well as children
and adults with special needs.
Page 40
Page 44
Page 48
ART & HEALING
Page 48
NEW ART
Page 50
GALLERY LIGHTS
Page 52
CLASSIFIEDS
Page 53
AD INDEX
Page 54
Artwork featured is
“ Destination Napa”
by Eric Christensen
from Eric Christensen
Fine Art & Editions.
Go to page 50.
ART WORLD NEWS
PAGE 7
SEPT13-Opinion page_Layout 1 9/19/13 11:13 AM Page 1
IN OUR OPINION
FINDING A
BUSINESS MODEL
FOR AN ARTIST
n the art business, indecision
costs money while wrong
decisions may cost careers.
For artists, and the publishers
and agents that represent
them, this is the commercial
imperative they must live with
and conquer if they are to
be successful. Over the last
fifty years or so, each decade
seemingly supported a distinct
business model that was a
clear and reproducible pathway
to financial success in the business. In general, as the industry evolved so did the model
and its assumptions. Certainly
there were spikes along the
way, but business, for each
member of the economic chain
in the industry, prospered.
I
Fast-forward to the last six
years where depressed consumer spending swirled with a
changing technological landscape to transform the face of
all retail businesses. For the
art industry, more “product categories” of art and potential
channels of distribution exist
for artists and publishers. However, the identification of a responsive, sustainable business
model that would guide good
decision-making toward profitability remains somewhat elusive. Sure there are pockets
of folks on all levels whose
businesses are “just fine.” But
in the aggregate, legions of
galleries, artists, and publishers have yet to weave together
their abilities and plans in a way
that yields sustainable and significant margin.
Amazon’s foray into retailing
art is simply the most recent
complicating development in
the marketplace. Is it merely a
form of promotion for artists?
Is it a legitimate profit center?
Does it undermine or enhance
the strength of an artist’s,
gallery’s or publisher’s current
position? Right now I think we
can only say that the answers
vary but will gain clarity by
year’s end. In the meantime,
the bigger question remains,
how to best make more money
in the art business.
John Haffey
Publisher
A RT W ORLD N EWS
Editor in Chief
Managing Editor
Production Manager
Editor at Large
Columnists
Sarah Seamark
[email protected]
Koleen Kaffan
[email protected]
Sue Bonaventura
[email protected]
Jo Yanow-Schwartz
Todd Bingham
[email protected]
Barney Davey
[email protected]
Joshua Kaufman
[email protected]
Co ntributing Writers
Publisher
Associate Publisher
Information Technologist
Greg Perkins
Cristi Smith
John Haffey
[email protected]
Brooks Male
[email protected]
Joe Gardella
Editorial Advisory Board
Phillip Gevik, Gallery Phillip, Don Mills, Ontario, Canada
Steven Hartman, The Contessa Gallery, Cleveland, OH
Philip M. Janes, Arts Exclusive Inc., Simsbury, CT
Heidi Leigh, AFA, SoHo, NY
Ruth-Ann Thorn, Exclusive Collections Gallery, San Diego, CA
ADVERTISING SALES INFORMATION
Eastern U.S. & International
Midwest & West Coast
John Haffey, Publisher
Phone (203) 854-8566
Fax (203) 854-8569
[email protected]
Brooks Male, Associate Publisher
Phone (847) 877-4568
Fax (203) 854-8569
[email protected]
Art World News (Volume XVIII, Number 8) ISSN 1525 1772 is published 10 times a year by
Wellspring Communications, Inc.: 143 Rowayton Avenue, Rowayton, CT 06853.
Phone (203) 854-8566 • Fax (203) 854-8569; To order additional copies or back issues
e-mail: [email protected] or fax to (847) 776-8542. Please indicate which month and year you
are requesting. Single copy price is $10.00.
All rights reserved. No part of this publication may be reproduced or transmitted in any form or
by any means, electronic or mechanical, including photography, recording, or any information
storage and retrieval system, without permission, in writing, from the publisher.
PAGE 8
ART WORLD NEWS
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ARTISTS & PUBLISHERS
Cao Yong’s Art in High Places!
New Release from Romero Britto
Artist Cao Yong’s work
was selected by the New
York Times Square China
Image Advertising Program
to be showcased in August
on the seven-storeys high
MarketSite Tower that serves
as the epicenter for NASDAQ
news and events in Times
Square. The exposure on
this modern day icon that
has been featured in movies,
on TV, and in numerous
articles, resulted in a huge
increase in interest in the
Chinese-born artist’s paintings and prints that are
represented by Cao Yong Cao Yong’s artwork featured
Editions of City of Industry, on the NASDAQ Building in
CA. The limited editions NYC earlier in the summer.
shown were “Freedom,”
“Voice of the East,” and “Catalina, My Love,” a new limited
edition print release featured in the photograph, shown.
The retail prices of Yong’s prints are $460–$20,800. For
more details, visit the website located at: www.caoyong.us.
Miami-based Magical
Thinking Art, exclusive worldwide publisher for artist Romero
Britto, presents a new
mixed media sculpture
titled, “Bow Tie Cat.”
The new piece is
based on a small collectible sculpture the
artist created in 2011
named “Squeaki Cat.”
The success of that
collectible, made of
polyresin and in edition of 800, inspired
Britto to create “Bow
Tie Cat,” an MDF, “Bow Tie Cat” by Romero Britto.
resin, and enamal
sculpture in an edition of 100, measuring 16 by 24 by 18
inches ($18,200). For more details, call (305) 938-2861 or
visit the website located at: www.magicalthinkingart.com.
Rosenstiel’s Signs Irene Suchocki
Felix Rosenstiel’s of
London has signed
Canadian photographer
Irene Suchocki, and
has added almost 100
of her images to its
portfolio. David Roe,
Rosenstiel’s executive
chairman, says, “Irene’s
combination of her love
of travel and nature,
with her dreamlike
aesthetics, creates visual poems that evoke
a sense of magic,
delight, nostalgia, and
romance.” “Flying Over Suchocki’s “Flying Over Paris.”
Paris,” shown, ranges
in size from 18 by 24 to 36 by 48 inches. Call Rosenstiel’s
in the U.S. at (480) 305-0714 or go to: www.felixr.com.
PAGE 10
Benson Debuts Nocturnal Cityscapes
Erik Benson, who
is a recipient of
the New York
Foundation
for
the Arts Painting
Fellowship, has
created a new
body of work focusing on nocturnal
cityscapes
that are featured
in a solo show, “Full Moon–Dead Vines” by Erik Ben“Sleep Walking,” son, acyclic on linen over panel, with
at Edward Tyler an image measuring 36 by 28 inches.
Nahem Fine Art,
New York. Retail prices for his work in this exhibit are
$8,000 to $40,000. Most recently Benson, who uses an
applique technique, with every detail applied by hand using
dried acrylic paint, participated in a solo show at New
York City’s Arsenal Gallery in Central Park. As part of
the NYC Parks & Recreation department, the gallery provides an accessible exhibition venue. To reach Edward Tyler
Nahem Fine Art, visit: www.edwardtylernahemfineart.com.
ART WORLD NEWS
Ferjo is exclusively published by
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“Music, Starry Night with Sky of Colors”
is an Original Oil on Canvas
Image Size: 40” x 49”
Ferjo was born Fernando de Jesus Oliveira in 1946 Brazil. He now lives in the U.S. and is renowned
for his work in surrealism. Often called “The Master of Perspective,” he is a master of style, whether
painting a room with floating objects, or a marina scene. His use of colors and lines is flawless.
Call Now: 561-333-9472
Mention this AD to get an additional
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A&P
Lower East Side Printshop Program
Gango’s Aaron Christensen Releases
A suite of nine
prints has been
created
by
Steven Millar as
part of Manhattan-based Lower
East Side Printshop’s latest residency program.
Among them is
“Marriage,”
shown, an edition
of 6, retailing for
$900. Millar’s images are elaborations on aspects
of the middle- “Marriage” by Steven Millar is an
class suburban archival inkjet print featuring intaglio
milieu of the ’70s with relief roll, collage, and hand addiand early ’80s, tions with a 15 1/2- by 17-inch image.
with wood grain
evoking paneling, flocked and textured wallpaper, among
other design elements typical of that period. For information, visit: www.printshop.org or call (212) 673-5390.
G a n g o
Editions is
releasing
the first new
collection in
several years
of prints by
Aaron Christensen, an
artist known
for the vintage look of
his art and
sense of history. The collection comprises eight
open edition “All’s Well” by Aaron Christensen, an open
prints
on edition print on paper and canvas.
paper and
canvas, and 30 pieces available for custom printing. Shown
is “All’s Well,” that comes in a 12- by 12-inch size retailing
for $10, and can be custom printed for all other sizes on
paper and canvas. Call Gango Editions, Portland, OR, at
(800) 852-3662 or go to: www.gangoeditions.com.
Ann Jackson Gallery Hosts Shortridge
Ann Jackson
Gallery, located
in Roswell, GA,
was the setting
of a show titled “Art Imitating
Life”
with new work
by romantic
impressionist
painter Stephen
Charles Shortridge, followed Artist Stephen Charles Shortridge gives a
by a workshop painting demonstration to a group of artists.
for an exclusive
group of new artists. The show featured new landscapes,
interior scenes, and figurative work. During the workshop,
Shortridge presented painting demonstrations and a critique of the participants’ own artwork. For further information, phone the gallery at (770) 993-4783 or visit the
website located at: www.annjacksongallery.com.
PAGE 12
NOBE Gallery Aides Animal Charity
In a benefit for
100+
Abandoned Dogs of
Everglades
Florida, North
Beach
Art
Gallery,
Fort
Lauderdale, FL,
held an art sale,
silent auction,
and raffle as
part of their
Summer
Se- Local Florida artist Andrea Goldsmith and
ries. Featuring her pet portraits during the event.
the work of
local artists, including pet portraits created by artist Andrea
Goldsmith who donated a dog portrait, the event raised
money for the charity that helps abandoned dogs, nurses
them back to health, and finds them forever homes. Phone
(954) 667-0660 or visit the website: www.nobegallery.com.
ART WORLD NEWS
TopDogsAd-revised-SEP13_Layout 1 9/6/13 4:39 PM Page 1
See more at: www.lyricalfinear t.com
631-787-8585
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SPECTRUM NEW YORK
TRADE & CONSUMER
SHOW, OCTOBER 3–6
NEW YORK—Spectrum New
York, a trade and consumer
show produced by Redwood
Media Group, takes place October 3–6 at the Javits Center
North in New York. The juried
show, with a trade-only day
Thursday, will feature work
from publishers, galleries, and
studio artists, including paintings, prints, sculpture, and
photography starting at
$1,000. Show director Eric
Smith says, “Business is picking up, the economy is getting
better, and we have some
really interesting art and new
things that will be displayed.”
Autumn is the perfect time for
a fine art fair to kick off the fall
buying season for industry
professionals. Endorsed by
the Mayor’s Office of New
York City, Spectrum has a
number of sponsors. They
include GE Capital, provider
to art galleries and other retail
businesses of consumer
financing programs; and
Belaya Rus, supplier of premium vodka. Among the show
highlights, Spectrum After
Dark is on Thursday, 5 p.m.–
7 p.m., when champagne and
cocktails are served.
Show hours are:
Thursday: 12 noon to 7 p.m.
Friday: 11 a.m. to 8 p.m.
Saturday: 11 a.m. to 7 p.m.
Sunday: 11 a.m. to 6 p.m.
For more: www.spectrum-new
york.com or call Eric Smith,
(216) 225-0962; or Rick
Barnett, (831) 747-0112.
PAGE 14
AMAZON ART: FRIEND OR FOE?
continued from page 1
dealer. Prices, ranging from
around $200 to several million, are set by
the seller, and
Amazon takes
a percentage
of the sale.
and other sites like that.”
For this reason, he says he
fears Amazon Art could at-
A key to how much Amazon Art will impact the market is price. As Greg Bloch,
owner of Triad Art Group
Publishing, says, “I don’t
think it can do any harm as
long as it is not used for discounting by galleries.” That
is something that artist Bob
Pejman, owner of Pejman
Gallery in Scottsdale, AZ, is
greatly concerned about. “I
see it as a way for a lot of
dealers to dump art. That is
my opinion. And they could
dilute the market if they list
pieces they can’t sell for
less than market value.
There is a huge inventory of
art that galleries have purchased that they are stuck
with right now because
tastes have evolved or for
some reason they just can’t
sell it.” Much of this he attributes to the Great Recession. “It slowed down the
rate of sale for galleries, and
in the meantime, tastes in
art have shifted, making
what was once saleable, not
saleable.” He says some
galleries were in a Catch-22
situation, where they were
stuck with inventory, and
this restricted their cash
flow, so they either couldn’t
or were too scared to buy
new art that might have
been easier to sell. “I think
this put a lot of galleries out
of business. The good
pieces always sell first and
their inventory got narrowed
down to the unsaleable.
tract galleries that want to
dump art. If that were to happen and work by an artist
that usually goes for
$10,000 comes down to,
say, $4,000, “then people
will see that this artist is selling for much less.” In a
“So much inventory is already on eBay, Craigslist,
tive. Yes, art will become
more accessible to more
people, but it could hurt both
galleries and artists.” Mr.
Pejman points out that book
retailers, particularly momand-pops, are not nearly as
prevalent as they once were.
Galleries need to hold their
own because it is vital that an
artist’s work be shown in a
gallery setting, he says.
Ken Warren, owner of
Westport River Gallery in
Westport, CT, states, “I
think the wake-up call is for
A screenshot of a partial view of the Amazon Art storefront
that is located at: www.amazon.com/art.
showroom or gallery setting,
artwork can be sold in privacy for less. “But, when
the transaction is done online, the whole world can
see that the artist is selling
for less, and it will impact
sales of that artist’s work
going forward. Who will buy
that artist for normal prices?
“In my opinion, Amazon
Art is not going to be posi-
frameshops and galleries
that deal more in paper and
non-unique oils (mass produced generic oils by relatively unknown artists), to
make sure what is offered is
a reasonable price, so that
one day they don’t find their
revenue stream undermined.
For fine art galleries, they
need to make sure the artists
ART WORLD NEWS
LAS VEGAS SUMMER
MARKET THE
STRONGEST IN YEARS
LAS VEGAS—Las Vegas
Market announced its Summer
Market was “a smashing success,” with growth in buyer attendance across all categories,
including furniture, decor, and
gift. In all, the Market registered a 31% gain in buyer attendance on last summer, with
newcomers from all across the
U.S. and from over 60 countries. The ongoing expansion
and realignment of gift and
home decor exhibitors resulted
in a 67.3% increase in home
decor buyers, and an 82.5%
jump in gift attendees visiting
the revamped Building C that
featured more than 50 new gift
and home decor showrooms
and an estimated 1,150 lines
added since last winter’s show.
Buyers representing the top
100 retailers, the design industry, and small to mid-size retailers were out in force and
writing orders. Said Paul
Watson, president, Christopher
Guy-Americas, “We exceeded
our sales goals by over 200%
and we look forward to the
2014 Las Vegas Winter
Market. We are thrilled by the
strong order-writing, particularly from new, international
accounts predominantly from
Canada and South America.
Las Vegas Market is no longer
a regional market and is
proving itself as the leading
International West Coast marketplace.” The recognition of
Las Vegas as an international
hub, bodes well for the West
Coast Art & Frame Expo,
trade show and National Conference, January 20–22, 2014,
at the Paris Las Vegas, a few
days before the Winter 2014
Las Vegas Market, January
26–30. For Las Vegas
Market, go to: www.lasvegas
market.com. For the West
Coast Art & Frame Expo,
go to: www.wcafshow.com.
PAGE 16
AMAZON ART
they deal with are honest,
the art is unique, their prices
fair, and that their artists
have minimal Internet presence.” Galleries, he says,
need to be vigilant to define
and protect their exclusive
geographic rights. “Amazon
can wield its mighty sword
and trigger anxiety in any
market, but for now, it’s just
e-noise. The ‘Giant Gorilla in
its Suit of Armor’ should be
watched carefully, but probably not feared by most. At
least for now.”
Amazon Art could, of
course, be seen as the wave
of the future or as just
another way for people to
advertise their wares. However, as Greg Bloch says, “I
don’t know whether people
will buy more expensive
pieces via point-and-click.”
Jake Henderson, president
of P. Buckley Moss Galleries,
Mathews, VA, agrees. He
has found that typically it is
the less expensive work
by Pat Buckley Moss that
sells online. Her paintings,
although available online
through galleries that sell her
work and at: www.pbuckley
moss.com, almost always
are sold in a brick-and-mortar setting, i.e. in the galleries. “In my experience of
online sales, which we have
been doing for a long time,
if people are familiar with
Pat’s work, they are content
to purchase limited edition
giclées and offset lithos.
Those are the media in
which we have the most online sales.” (The price range
is $75 to $3,000.) The company does, however, pick up
inquiries about original work
based on the selection presented on its website. “They
may say they are interested
in a subject similar to what is
online, and they want us to
provide them with a selection of four or five pieces
that fit their wants as regards subject matter and
price. Then a discussion begins about what they like. It
gallery in its dealer network
to where the buyer is located is credited with a percentage of the sale.
Ray Maseman’s “Collaboration,”
above, a multiple-plate gravure,
9 by 12 inches, sold for $300 on
Amazon Art, and below, Deborah
Donelson, “Crying for Birds,”
gravure and watercolor, 8 by 10
inches, sold for $350. Both original prints were offered by New
Grounds Print Workshop and
Gallery in Albuquerque, NM,
www.newgroundsgallery.com.
is much more of a hands-on
process for us than we can
accomplish online.” And Mr.
Henderson does make it
clear, that if a sale is made
by the company, the nearest
Mr. Henderson confirms,
“There is no doubt having Pat’s originals available online does generate some inquiries,
but as far as I recall, I
dont think we have ever
had anyone drop a
watercolor into a shopping basket and purchase it, even at $2,000,
which is the lower end
for her work. Even people who have previously
purchased her watercolors, are buying their
next watercolor in a
gallery. Yet we have had
$3,000 giclées sell online.” Mr. Henderson
thinks collectors are
O.K. with purchasing
the giclées online because there is consistency in their production,
and the buyer knows
what they are getting.
He adds, “I think if
I were a collector, I
would need assistance
in narrowing down my
options for buying art
at Amazon Art. I think,
for a serious collector,
it would be difficult to
sort through it all because of the sheer scale
of it. I think a serious
collector respects the
opinion and advice of
art sales people, and
if they are prepared to
spend a significant
amount of money, they
especially value that
opinion. I don’t think
Amazon Art is going to
sell million-dollar art online. That person will contact
an art dealer, and the sale
will happen in a gallery.” Mr.
Henderson believes it will be
ART WORLD NEWS
SEP13-CJR stacked_Layout 1 8/7/13 1:48 PM Page 1
Soho Iron Flats
30” x 40”
Original
Oil on Canvas
Alex
Zwarenstein
Exclusively Published by CJR Fine Arts
CJR
Fine Arts
561-333-9472
www.cjrfinearts.com
Alex
Antanenka
Published Exclusively by CJR Fine Arts
Lover’s
Meeting at
the Country
Bridge
24” x 36”
Original Acrylic
on Canvas
CJR
Fine Arts
561-333-9472
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SEP13-news-Lyrical-pg1_Layout 1 9/19/13 11:33 AM Page 1
JOHN BANOVICH PAINTING
FETCHES WELL OVER
ESTIMATE AT COEUR
D’ALENE ART AUCTION
RENO, NV—The Coeur
D’Alene Art Auction in late
July of 19th and 20th century
Western and American art, realized $30.5 million with 98%
of the 300-plus lots selling. A
highlight of the auction was
the sale of an oil on linen
painting by artist and conservationist John Banovich of
Banovich Art Inc., Livingston,
MT. Entitled “Approaching
Massai,” the painting, shown,
fetched well above estimate
at $64,350. Measuring 32 by
44 inches, it was estimated to
sell for $35,000 to $55,000.
For the Coeur D’Alene auction, visit: www.cdaartauction.
com; for more on the work of
John Banovich, go to:
www.johnbanovich.com or
phone (888) 486-3160.
TORONTO ART FAIR RUNS
OCTOBER 25–28
TORONTO—The Toronto
International Art Fair, with
more than 100 exhibitors of
modern and contemporary
work and produced by Informa Canada Inc., takes
place October 25–28 at the
Metro Toronto Convention
Centre. Opening night benefits the Art Gallery of Ontario.
For more information, go to:
www.arttoronto.ca.
PAGE 18
LYRICAL FINE ART LAUNCHED
Lyrical Fine Art, located in
Hauppauge, NY, has been
launched by James LaMantia and Robert Bluver to publish limited edition giclée on
canvas prints and represent
the originals of a variety of
artists. Formerly LaMantia
Fine Art, the new company
features the artwork of five
artists and currently has 26
dealers throughout the U.S.
and Canada.
Mr. LaMantia says that
with his and Mr. Bluver’s extensive industry experience
(a combined 44 years), they
saw a niche in the industry
that needed filling. “Starting
Lyrical Fine Art has been in
the works for a while,” he
says. “As a gallery owner for
some 25 years (and counting), it was time for us to
grow and this was the natural progression. Because of
my gallery experience, I know
what it is like working the
floor, and am able to tailor a
gallery’s program with my
artists in a personal way that
is specific to that gallery’s
needs.”
giclées on canvas,
that feature the theme
of technology creating
a disconnect with faceto-face, human interaction.
“Cathy’s ‘Con-Text’
series caught my attention when she first described her vision to
me,” Mr. LaMantia says.
“I loved the concept
of integrating words
into the work as a tool
to set up a particular
theme for a painting.”
Nichols works in various mediums and her
giclées on canvas are
available in editions
from 50 to 95, retailing
from $3,500 to $5,400.
The hypnotic landscapes of painter Tim
Gagnon offer a sense
of calm through the
artist’s warm color
choices and skillful
brushwork. Lyrical Fine
120, retailing from $2,900 to Art represents Gagnon’s
$9,450. Another is Cathy acrylic on canvas work only,
Nichols. Lyrical has recently that retails from $1,680
to $4,800. Mr.
Lyrical
LaMantia says
Fine Art’s
that there are
objective is
no plans to pubto introduce
lish Gagnon’s
the artwork
work. “He is
of fine artists
quite a prolific
that enjoy
artist and we
telling a story
wanted
an
through their
‘originals only’
chosen medartist who was
ium. One of
highly skilled at
those artists
taking commisis Daniel Del
sions. We had
Orfano. The
heard from sevcompany
eral dealers that
represents
they wanted an
his oil on can- “Faith” by Cathy Nichols is a giclée on canvas available
artist who could
vas work and in two sizes: 40 by 30 inches in an edition of 95
offer only origipublishes his ($1,975) and 24 by 18 inches in an edition of 50 ($995).
nals at a price
hand-embelpoint just above
lished giclées on canvas, introduced her “Con-Text”
available in editions of 50 to series of limited edition
“Our Paris” by Daniel Del Orfano
is available as a giclée on canvas in
two sizes: 24 by 44 inches in an
edition of 95 ($1,750) and 18 by 32
inches in an edition of 50 ($995).
ART WORLD NEWS
SEP13-news-Lyrical-pg2_Layout 1 9/19/13 11:36 AM Page 1
PLEIN-AIR EASTON! SHOW
BRINGS STRONG SALES
AND ATTENDANCE
EASTON, MD—Sales at the
week-long Plein-Air Easton!
show in July exceeded
$325,000, an increase of
more than 20% over 2012 figures, with sales of 300-plus
paintings by plein air artists
who came to this annual
event from across the country. The Grand prize: Timothy
E. Sills Memorial Award went
to Garin Baker of New York
City for his “A Buck Twenty a
Bushel,” oil on linen, 24 by 20
inches, shown. Retail prices
of Baker’s small plein air
paintings are $1,200 to
$4,000. The competition exhibit was held at the Academy
Art Museum in Easton.
Attendance this year was approximately 10,000, and the
work of the competition
painters was well-received
with a painting selling every
45 seconds for one-and-a-half
hours during the Collector’s
Preview Party.
Plein Air-Easton! is run by the
Avalon Foundation, a not-forprofit entity whose mission is
to work to improve the quality
of life for citizens of Maryland’s Eastern Shore. It accomplishes this by presenting
diversified arts and educational programs, by working
with other organizations that
serve the community, and by
acting as a home for arts organizations. The 10th annual
Plein Air-Easton! will take
place July 12–20, 2014. Visit:
www.pleinaireaston.com; for
more on Baker’s work, go to:
www.garinbaker.com.
PAGE 20
LYRICAL FINE ART
as well as red carpets and
live music. Even the gallery
owner wore a stunning red
dress for the evening.”
artists are unique in that they
are extremely approachable
and accessible. My dealers
an average giclée. Tim Gagnon
can speak to our artists
was a perfect fit.”
pretty much whenever they
Paying attention to the need. Should they want
Also new to the Lyrical Fine needs of gallery owners and a client to speak to the artist
Art roster is
to help close
Top Dog artist
a sale, I will
Chris Collins,
arrange that
whose work
the
gallery
features
owner have
bold Pop art
that opportupaintings of
nity. We made
bulldogs.
sure to work
The company
with very humalso now disble and hardtributes the
working artists
acrylic
on
who are honcanvas work
ored to be a
and limited
part of these
edition
gigalleries
clées on canaround the
vas of whimcountry and
sical surreal- Tim Gagnon’s “Between the Red” is an acrylic on canvas
in Canada.
ist painter measuring 36 by 24 inches, retailing for $2,400.
They do not
Ferjo.
take
that
their clients is at the fore- blessing for granted.”
Mr. LaMantia says that front of Lyrical’s main objecas the economy is showing tive. “I am very sympathetic
Mr. LaMantia is excited to
signs of consistent improve- to the challenges that gal- offer galleries access to a
ment, the art industry is lookvaried body
ing for new inspiration and
of work to apthat has played a big factor in
peal to many
his and Mr. Bluver’s decision
collectors’
to launch Lyrical Fine Art
tastes. “Our
now. “We are finally coming
artwork is for
out of the recession, and galthe collector
leries seem to be looking for
who wants
something fresh—a new disomething
rection to re-energize their
more than a
business with new art.”
piece of art to
hang on their
One example is a show
wall—they
that the company, then called
look for a
LaMantia Fine Art, did earlier
compelling
in the year featuring the work
story to share
of Del Orfano. “The hosting
with people in
gallery sold 40% of the
their lives,”
originals that were sent for
Mr. LaMantia
the show within days of
concludes.
the opening,” Mr. LaMantia
notes.
For further
information,
“They also sold, and took “Fiddler” by Ferjo is a limited edition giclée
telephone
orders for, a number of lim- on canvas measuring 20 by 24 inches ($900). Lyrical Fine
ited edition canvases. They
Art at (631)
adorned their gallery with the leries face. We have been 787-8585 or go to the comartist’s signature red umbrel- doing a lot of commissions pany’s website located at:
las hanging from the ceiling, recently, and it helps that our www.lyricalfineart.com.
ART WORLD NEWS
HalfPageStacked_Layout 1 9/19/13 10:33 AM Page 1
ART WORLD NEWS
PAGE 21
SEP13-news-POD_Layout 1 9/19/13 11:41 AM Page 1
KRISTI SHELLEY OF
ACCENTS ART IS
LARSON-JUHL CUSTOMER
SURVEY WINNER!
NORCROSS, GA—Kristi
Shelley of Accent Arts Inc.,
a Minneapolis-based custom
frameshop in business almost
40 years, is the winner of
Larson-Juhl’s recent customer survey drawing. With
over 1,500 responses from
retail custom framers from
within the U.S. collected,
Kristi had luck on her side
and won a trip for two to attend the 2014 West Coast
Art and Frame Expo in Las
Vegas, January 20–22, at the
Paris Las Vegas. Her prize includes airfare, hotel accommodations for three nights,
dinner and a show, and $200
in spending money.
Larson-Juhl asked customers
to take the survey in order to
gain insight into customers’
businesses and the industry
as a whole. A huge amount of
data was collected. Some
noteable statistics from customers surveyed are:
15% sell art
67% utilize social media
69% have a website
Kristi Shelley bought Accent
Arts 11 years ago, after working at the store for fifteen.
“We try to do all our framing
to meet museum quality and
archival standards,” she says.
“That is what we educate our
customers to want. They don’t
always know that is what they
want until we educate them,
and then they expect it the
next time.” The average
ticket at Accent Arts, Ms.
Shelley says, is $300 to $400.
Although, as she says, “It’s
nice when we get bigger
framing jobs!”
To reach Larson-Juhl, visit:
www.larsonjuhl.com, and for
Accents Arts: www.accent
arts.net, (612) 822-1234.
PAGE 22
POD’S NEWEST ADDITIONS
Chris Moseley, President of
POD Exchange LLC., located in Panama City, FL,
has announced the
addition of five new
art publishers and
three new artists to
its roster of print-ondemand options. The
company has also
signed more international retailers as
customers, taking their products and services to a more
global audience.
“We’re very excited to
announce that we’ve added
American publishers Wild
Apple, Classic Collections,
and Premier Art; as well
as international publishers
Pecheur d’Images from
France and Art Concept
International
from
the
Netherlands,” Mr. Moseley
says. He also notes that
three private artists: Patrick
Reynolds, Jane Segrest, and
Kate Hoffman, have been
added. The original list of
companies participating are:
A.D. Lines, CAP & Winn
Devon, Galaxy of Graphics,
Gango Editions, Image Conscious, Main Line Art, PI
Creative Art, and Sundance
Graphics.
With these new additions,
POD Exchange facilitates
the secure delivery of copyrighted artwork files from
16 publishers and artists
directly to retailers with inhouse, wide format on-demand printing capabilities for
fine art reproductions. The
company tracks the usage
and pays royalties to the appropriate publisher or artist.
“Using POD Exchange
allows retailers to offer their
customers images from many
different companies and artists
in a true ‘on-demand’ fash-
ion, even if the end point is
a world away,” Mr. Moseley
says. “Customers can not only
print direct, they can also
use our data services to extend the image gallery to
their own websites for their
customers to browse and
purchase. There are so many
advantages for retailers, offered by POD Exchange,
such as less cost, fast turnaround, customizable size
and substrate options, and a
one-stop shop for all the
more popular images.”
In an effort to work with
retailers and meet their
needs, POD Exchange is in
the process of finalizing data
services, whereby customers
that would like to show the
gallery of images on their
own website will have
access to the data and
thumbnail images of
the full line of offerings
from POD Exchange.
The data service plan
is available to all POD
Exchange customers
for a monthly fee of
$19.99 or $199 for the year,
if paid in advance.
The company is also laun
ching new printer RIP software. “We recently teamed
up with Shiraz Software in
London, England, to develop
a POD Exchange Version
of their popular Carbon RIP
software,” Mr. Moseley
says. “This new product
will add thousands of
printer models to the
list of approved printers
for the system and will
be an affordable RIP
solution that gives the
user better control of
the printer and ‘nesting’
capabilities.”
New international distributors of POD Exchange images include
Chamton Pty Ltd., to
cover all of Australia, and
Art Concept International
to cover the U.K., Germany, Czech Republic,
and the Benelux. “These
new distributors will offer
sales and support of
the POD Exchange system and products,” Mr.
Moseley says. “Users
in those areas will have
access to support within
their own time zones to
resolve any issues they
may have in a more timely
manner.”
Call (888) 406-2858 or go
to: www.podexchange.com.
ART WORLD NEWS
SEPT13-Arnot page_Layout 1 9/19/13 11:53 AM Page 1
TRU VUE GIVES FRAMERS
A CHOICE WITH
FALL PROMOTION
MCCOOK, IL—Tru Vue is
tapping into custom framers’
opinions with its Museum
Glass promotion, “The Difference Is Easy to See Sweepstakes.” Launched on
Facebook on September 17,
the promotion invites framers
to view four possible designs
for new Glass Choices displays and vote for their favorite. Votes count as entries
into the sweepstakes, one per
Facebook account.
Tru Vue also hopes to get
feedback on several designs
for a new display structure.
From September 18–30,
there will be daily winners,
and a grand prize winner will
be announced on October 1,
who will receive a gift certificate towards $999 on any Tru
Vue Conservation Grade
glazing. “We see this as a fun
way to get input from custom
framers, because they are the
experts when it comes to
what works in their shops,”
says Jen Gramm, marketing
manager at Tru Vue, manufacturer of high performance
glazing for the custom framing and museum markets.
“We have research that indicates consumers are interested in the benefits Museum
Glass provides, and we want
to offer the tools that will help
custom framers share information with their customers.”
Consumer surveys show,
58% of custom framing customers choose Museum
Glass when shown a display
that compares glass choices.
When adding cost, 41%
would be willing to pay $150
more to upgrade to Museum
Glass, and half would pay an
additional $100 for Conservation Clear. Yet, Museum
Glass is offered to consumers
only about 3.5% of the time.
Visit: www.tru-vue.com.
PAGE 24
CYCLICAL NATURE OF THE ART MARKET
When Peter and Vicki
both from Malaga; Jorge
Arnot, owners of Arnot
Nunez Segura from
Galleries, New York,
Barcelona, and Riccardo
visited Europe this
Arenys (1914-1977), also
summer, as they usufrom Barcelona, whose
ally do, their working
painting entitled “Two
trip was not devoted
Stallions on Red” is feaentirely to the living
tured below.
artists they represent,
but to the work of deAnd as the Arnots
ceased artists that is
travelled through France
now in high demand in
on their recent trip, they
their home countries.
sold the work of André
“It’s as if everything
Beronneau (1896-1973)
old is new again, as
to collectors and galthe work you have cy- Malva’s “Field of Dancing Poppies,” an leries in Bordeaux, where
cles through the art oil on canvas, 40 by 40 inches.
the artist was born. “It is
market,” notes Mrs.
not always a question of
Arnot. “You buy the work to the Arnots. “His father buying; it is selling, as well,”
of artists during their life- was so important that the Mrs. Arnot observes. “And
time, when galleries want Czech government gave him what is interesting is that
‘the new.’ For example work a Corvette and even built these artists became estabby the wonderful artists a stretch of road specially lished in their lifetimes. They
of the Catalan region of
were not at that stage
Spain, France, Italy,
when we bought from
Czechoslovakia...” When
them. Part of the job of a
Czechoslovakia was under
gallery owner is to find
a communist regime, Arnot
artists they believe in,
Galleries was exclusive
and promote them. You
representative for the
don’t have a crystal ball,
art made available by its
but in choosing to repregovernment in the U.S.
sent that artist, you rec“After years go by, the
ognize that there is
artists whose careers
something in their work
you have promoted in the
that makes them exU.S. pass away. Then,
tremely special.”
after more time elapses,
you have Fortune 500 art
When the Arnots
collectors who want to
began working with
purchase the work of
Edouard Leon Cortès
these deceased artists.
(1882-1969) early on the
For example, we don’t “Two Stallions on Red” by Riccardo
artist was successful.
have any paintings left Arenys,” oil painting, 24 by 30 inches. But more recently his
now by Joseph Procprices have soared. If
hazka; a certain gentleman for him to drive it on,” Mrs. Mrs. Arnot is asked who
was taken by the work, and Arnot recalls.
she thinks will be the future
the entire collection has
Cortès of our generation,
all gone back to CzechosloLikewise, galleries in she says she believes it
vakia. It is interesting how Barcelona have been show- will be Malva. But other
it goes around.” Arnot ing an interest in the paint- artists to watch, she says,
Gallery does, however, ings of deceased Catalan are Luigi Rocca, Guy Desshave his son Jan Proc- artists that Arnot Galleries apt, Willi Bauer, and Claudio
hazka’s work. In fact, when represents. “So we went to Simonetti.
his father passed away, he visit the galleries.” The work
painted a view of the ceme- they showed was by such
To reach Arnot Gallery,
tery where Joseph Proc- artists as Felix Revello de visit: www.arnotgallery.com
hazka is buried and gave it Toro and Francisco Ribera, or call (212) 245-8287.
ART WORLD NEWS
SEPT13-Tru Vue pages/REV page 1_Layout 1 9/19/13 2:59 PM Page 1
FRAMERICA EXPANDS ITS
‘NEXT GENERATION’
MOULDINGS
YAPHANK, NY—Framerica
has expanded its Textured
Collection to include Montauk
and Oyster in profiles from
5/8 to 3 inches wide. The collection consists of wood tones
ranging from white-washed
woods to weather beaten
darks. They are designed to
have a 3-D effect, a development that Framerica says
hints at future design capabilities. Visit: www.framerica.com
or call (800) 372-6422.
DECOR MOULDING &
SOUTHERN MOULDING
INTRODUCE CARRERA
HAUPPAUGE, NY—Decor
Moulding and Southern
Moulding debut Carrera,
with reverse burgundy blacks
and contrasting lips in worn
gold and silver. Designed as
an elegant look without a big
price tag, it is in six styles in
2 1/4-, 2 3/4-, and 4-inch
widths, and rabbet heights of
1/2, 5/8, and 11/16 inches,
with three matching fillets. Go
to: www.decormoulding.com.
PAGE 26
SURVEY: BRIGHT SPOTS FOR FRAMERS
The art and framing market is purchase from Unity Marketbeginning to make a come- ing, the Stevens, PA, conback from the effects of the sulting firm owned by Pam
Great Recession, according Danziger, specialist in conto research conducted by sumer insights for marketers
Unity Marketing. In a survey targeting the affluent conof more than 2,600 Ameri- sumer segment. (Contact:
can consumers, 50% indi- webmaster@unitymarketing
cated that they had made an online.com.)
art and/or framing purchase
during 2012. Though still not
According to the research,
at pre-recession levels—the art buyers represent the best
figure was 58% in 2006— target for independent custhe latest figure is three per- tom frameshops. They are
centage points above 2010, the largest category of cuswhen it was 47%. The tom framing consumers, and
growth of the overall cate- are more active than they
gory shows bright spots for have been in the past six
custom framing, despite the years. Consumers in both
industry’s struggles. Custom categories (art buyers and
framing purchases were custom framing purchasers)
down three percentage share very similar demopoints since
2010 (from
24% to 21%),
The top three factors that
but
strong
gains in the art influence where a consumer
market and
chooses to custom frame
the perceived
are: Trust, confidence and
value of cuschoice of materials.
tom framing
by consumers
point to opportunities, according to Tru graphics, and art buyers are
Vue, one of several compa- more interested in original
nies that provided financial art, with strong growth in that
support to conduct the re- market. Original art also was
search.
ranked highest by survey respondents as the item most
The Art, Wall Decor, Pic- recently custom framed. The
ture Frame and Custom research indicates significant
Framing Report is designed parallels between what motito help art and framing man- vates consumers to purufacturers, marketers, and chase art and to have pieces
retailers better understand custom framed. Over 60%
the consumer market for agree with the statement,
their goods. Tru Vue, manu- “When choosing a piece of
facturer of high performance art for my home, the way the
glazing products for the cus- piece makes me feel is the
tom framing and museum most important.” Fifty-five
markets with locations in percent of custom framing
McCook, IL, and Faribault, consumers cited preservaMN, is planning to share in- tion and protection as the
sights into the survey results most important reason to
through its website over the custom frame. Having a
next several months. The full “special item that needed
results are also available for framing” was the top reason
to choose custom framing.
“Custom framing consumers are personally and
emotionally attached to what
they put on their walls,” says
Jane Boyce, president of Tru
Vue. “It’s no surprise that
conserving those pieces is
vital to them.” The research
also indicates that the expertise custom framing professionals provide fills a key
need for consumers. The top
three factors that influence
where a consumer chooses
to custom frame are: Trust,
confidence and choice of materials. The primary reason
consumers ultimately chose
custom framing over readymade was they “wanted an
expert to frame this item.”
Possibilities for tapping
into business from satisfied
customers are strong. According to the research, 45%
of consumers who have purchased in the collective category in the past year have
items waiting to be framed.
Many have two or more
pieces they intend to frame.
Understanding the demographics of the typical consumer can help custom
framers attract new customers. The custom framing
consumer of the past was
older, but the most recent report shows that 56% are age
44 or younger. It is also the
category with the highest
income level ($121,000) of
those surveyed, and a small
majority of custom framing
consumers are men (59%).
“Though custom framing
hasn’t returned to where it
was before, the growth of the
overall market provides a
number of opportunities for
ART WORLD NEWS
SEPT13-Tru Vue pages/REV page 2_Layout 1 9/19/13 3:02 PM Page 1
MAX MOULDING DEBUTS
MAX ESSENTIALS
LOS ANGELES—Max
Moulding introduces Max
Essentials—the Everyday
Collection—combining Max’s
insight into the profiles and
finishes of mouldings widely
used by framers. The collection of 22 functional profiles,
with widths from 3/4 to 3
inches, has modern classic
finishes in silver and gold foil,
espresso, textured walnut,
matt black with silver and with
gold, and satin espresso with
silver lip. Visit: www.max
moulding.com for information.
LARSON-JUHL PRESENTS
THE KLAVIER COLLECTION
NORCROSS, GA—LarsonJuhl’s new Klavier collection
features rich, lustrous finishes
and traditional profiles designed to offer a look of elegant sophistication. Inspired
by European framing styles,
Klavier is available in three
woodtone furniture finishes:
ebony, walnut, and gray on
three profiles in width from
1 to 4 inches. For details, go
to: www.larsonjuhl.com.
PAGE 30
SURVEY
on paper, such as lithographs and posters; and
reproductions on canvas,
such as canvas transfers,
gallery wraps, stretched
canvas, mounted canvas,
giclées and photographs.
• Already-framed art repro-
independent custom frame
shops,” says Ms. Boyce.
“Research shows that interest in art and wall decor is
on the rise, and that consumers value
what custom
frameshops
The key to success is
provide. The
responding to the market
key to success is rewhere it is today, not how it
sponding to
was before the recession.
the
market
where it is
today, not how
it was before the recession.”
ductions, including readyto-hang art reproductions
The products included in
on paper and canvas, giUnity Marketing’s survey inclées and photography.
cluded any art or pictures to • Print-on-demand art
display on walls, specifically:
• Original artwork: oils,
acrylics, pastels, watercol• Unframed reproductions
ors, drawings, etc.
•
•
•
•
•
•
Tabletop picture frames
Wall-hanging frames
Poster frames
Shadow box frames
Digital display frames
Any decorative items to
hang on the wall, specifically: Sconces, wall shelves,
mirrors, plaques, tapestries, wall hangings, decorative clocks, hanging
cabinets, brackets or
hooks, wall murals, including stickable wall graphics;
family tree, signs, metal
art, printed glass, and
other decorative accents.
• Any custom framing such
as art, pictures, memorabilia, certificates, etc. by a
professional framer.
To reach Unity Marketing,
go to: www.unitymarketing
online.com. For Tru Vue, visit:
www.tru-vue.com.
TRU VUE NOW OFFERS BUSINESS TOOLS ON ITS WEBSITE
Custom framing professionals have a new resource to
help them grow their businesses and stay in touch with
current and new customers.
Tru Vue has created a Retail
Business Tools Section on
its website, www.tru-vue.com,
providing easy access to a
comprehensive set of turnkey
marketing tools specifically
designed for the needs of retail custom frameshops.
The new resource includes
a log-in feature that enables
custom framers to save their
store information for a fully
customized experience and
quick access to a wide range
of co-branded collateral. At
the site, custom framers will
be able to:
• Download product logos,
technical images, royaltyfree sharable framed images, and others that
showcase the value of Tru
Vue Conservation Grade
products, which can be in-
•
•
•
•
•
•
corporated into the store’s
collateral materials.
Save time with online marketing by utilizing turnkey
e-blast, templates to share
store news, promotions
and special events, and
drive traffic.
Update their websites by
embedding Tru Vue content with the simple-to-use
iframe template.
Order merchandise such
as gloves, glass choice displays and other collateral
by using the new shopping
cart.
Watch videos and share
them with customers via
social media.
Learn how to better optimize their websites for
stronger search results
with SEO tips and keyword
search list.
Download consumer brochures on conservation,
UV protection and other
product information to print
it out.
• Tap into the latest industry
news and information with
insights on how to leverage
trends at the retail store
level.
• Help their staff answer
questions about products
and demonstrate product
benefits via videos and
other training materials.
• Explore fresh ideas and
creative solutions they can
use in their stores through
articles, videos, and other
materials from fellow custom framers.
“Our goal with the Retail
Business Tools Section is to
provide value to busy custom
framers, who often find
themselves pulled in many different directions,” says Jen
Gramm, Tru Vue marketing
manager. “We spent a lot of
time considering what custom
framers need most and designed it like an in-house
marketing department for
independent frameshops.”
ART WORLD NEWS
SEPT13-Frame Design_Layout 1 9/19/13 2:55 PM Page 1
DETAILS OF A FRAME DESIGN
FRAMING SMALL WORKS OF ART
by Greg Perkins
Most people purchase art
because they love it. If their
choice happens to be small
in size, it doesn’t lessen
their emotional connection
with it. Some people will buy
art they believe will be a
good investment. Even if
they don’t have that same
personal connection as the
person who loves the art,
they are proud to own it and
will likely want people to see
it, just as they would if it
were larger.
and a 3-inch mat border and
a 2-inch wide moulding for
a 16- by 20-piece, a 5- by
7-inch piece is going to be
downright tiny. A tiny frame
design is not the way to go
to help your clients feel great
about their purchase, and to
take pride in it when they are
showing it to others.
There are two important
considerations when choosing how to frame a small
piece of art. First, be sure
your selections enhance the
Art on paper
is typically
matted. A
generously
proportioned mat
border certainly will
help to add
a sense of
importance
to a smaller
piece. The
middle of
the three
layers of
matting is black. This creates a strong line around the art
to pull the viewer’s attention to the art from the frame and
surrounding room. The photograph of the horses is by
Martin Henson, from: www.ArtThatFits.com. The frame is
Larson-Juhl’s Devon #388630.
Many people choose mat
border widths and frame
moulding widths based on
the overall size of the art to
be framed. If they would
choose a 4-inch mat border
and 3-inch wide moulding for
a 24- by 36-inch piece of art,
PAGE 32
art. The challenge arises
when you factor in that small
pieces easily get lost among
everything else in a fully decorated room. That leads to
the second consideration.
You should create frame designs with enough strength
A small piece of art
can easily go unnoticed among everything else in a fully
decorated room. Several techniques were
used here to help this
painting stand out,
wherever it may be
displayed. Firstly, the
large scale of the
moulding adds to the
scale of the art so the
overall size becomes
more noticeable. Secondly, the dark color
of the frame is
strong, yet not overpowering, giving the art a more
powerful presence. Thirdly, the contrasting gold fillet near
the painting draws the viewer’s attention to the art. The
painting is by Yasharel Manzy, available at: www.yasharel
manzy.com. The frame is Larson-Juhl’s Klavier #755155.
to help the art stand out
wherever it’s displayed, while
being subdued enough for
the art to remain the focal
point within that design.
It’s a shame when framed
art appears insignificant simply because it is small.
When art is displayed in a
gallery setting, it tends to be
displayed using whatever
methods are needed to help
it stand out. It may be great
lighting, hanging on a wall by
itself, or it may be placed on
a background color that
helps call attention to it.
After all, the goal of showing the art in a gallery is to
sell it, making it vital for the
art to look its best. When a
consumer purchases the
piece and takes it home to
display, it is rare they will
have an equally ideal spot
for it. So, the question is,
can or should small artwork
be framed using different
guidelines than those used
for larger pieces? I say,
“Yes!” When small art is
framed using the same proportional ratios used for
large pieces, the results are
generally extremely unimpressive. By consciously
choosing wider mat borders
and larger scale frames, you
will help the art look as important as it is.
Greg Perkins is Customer
Programs Manager for
Larson-Juhl. He may be
reached via e-mail at: Greg_
[email protected].
ART WORLD NEWS
SEPT13-Consignment Part 1 page 1_Layout 1 9/19/13 12:57 PM Page 1
ART & BUSINESS
GETTING HONEST ABOUT CONSIGNED ART
by Cristi Smith
While our industry has resolved many challenging issues over the past several
years, it has not found a
resolution to the recurring
issue of art on consignment.
If galleries, artists, and publishers are to flourish, we
must take an unflinching
look at the problems that
surround consigned art. It’s
the proverbial elephant in
the room and it’s time that
we addressed it.
The topic of consignment
is controversial, and the
subject of many opinions
and stories. Consignment
presents multi-faceted problems, and integrity and trust
lie at its heart. But there
are other issues, too. For
example:
• How much art should be
consigned vs. purchased?
• Should limited editions
ever get consigned?
• What are the standards
for fledgling artists vs.
established ones?
• What if you have a buyer
for a painting that has
been consigned to another gallery?
• Are there consequences
when agreements aren’t
honored?
These questions are just
a few of the many.
The adverse repercussions of ignoring the issues
of consignment affect our
entire industry. Let’s begin
with the violation of trust.
PAGE 34
Typically, artists or publishers are the ones who get
burned when things go
south (meaning they wind
Cristi Smith.
up chasing money, art, or
both). But when art providers become pessimistic
as a result, the gallery industry suffers, too.
After a negative experience with a gallery, some
artists become completely
gun-shy and decide to go it
alone with art fairs, pop-up
shows, or they may open
their own gallery or Web
presence and sell directly.
When an artist fears consigning their work and they
pursue these other sales
options, it takes business
away from galleries. The stellar ones (i.e. prompt paying
galleries) are affected, too,
and miss opportunities.
In an ideal art world, consigned merchandise wouldn’t even be an option. The
gallery owner would have
sufficient sales to purchase
meticulously selected art
that followed or inspired a
precise vision. The artist
would be paid their wholesale price when the art
leaves their possession. You
know… the way it works
in almost every other retail
business on the planet.
shine a spotlight on the problem, but I cleared my calendar and set to work after
we recently experienced our
own situation. It went something like this:
Following a successful
show some time ago, we
were looking forward to a
healthy compensation check
from the hosting gallery. But
The notion of a proprietor after waiting politely (far past
having relatively no invest- the promised due date), then
ment in his or her merchan- asking nicely, sending redise is hard to imagine peated requests, reminders,
for most retailers who are and eventually numerous
not in the fine art business phone calls which resulted
(and certainly their suppli- in broken promises—months
ers). From their viewpoint, I later it was time to be direct
with
the
gallery:
us the
Typically, artists or publishers Show
money. We
are the ones who get burned finally got
the
truth:
when things go south.
“We don’t
But when art providers
have
the
m
o
n
e
y
.”
become pessimistic
“What do
as a result, the
you mean
gallery industry suffers too.
you
don’t
have
the
money? You
suppose consignment sounds had the money. Your client
like a great gig if you can get paid you for the art.”
it. But from the art industry’s
Gallery owner is apoloperspective, consignment is
not a choice, but a neces- getic. “We’ve been having a
few bad months. We just
sary reality.
don’t have it to give you.
We’re very sorry. We’ll send
The Truth Hurts
you what we can when we
I had been thinking about can.” “But… that was never
writing a consignment article your money to spend!”
for months, urged by other
artists and publishers to help
ART WORLD NEWS
ART & BUSINESS
CONSIGNED ART
“Well, we’re sorry. It’s been
very difficult for us this year.
I hope you understand. We’ll
pay you. Eventually.” “But
we’re not a bank! We can’t
finance your business. We
have our own bills to pay. You
can’t do this.” “Yes, well, we’re
very, very sorry. It’s just not
there. We promise you’ll
get paid. Just not for awhile.”
Repeats the gallery owner.
“When?” “I don’t know. We’ll
do the best we can.”
And so this archetypal and
unpleasant exchange continues, with righteous indignation on one end and contrition
on the other, until the conversation loop begins to wear
both parties down (or the
offending gallery owner becomes annoyed or defensive
and ends the conversation
abruptly). These things rarely
end well, and this particular
experience was no exception. When someone keeps
money that belongs to you, I
think it’s human nature to
have a problem with that. Most
artists or publishers have their
own bills to pay and aren’t in
a position to finance any
other business but their own.
Nearly every artist has a horror story about not being
paid for consigned art and
subsequently forced into a
position where they have to
cajole, beg, or threaten a
gallery to pay him or her according to their agreement
(usually in that order). They
will tell you that the worst part
of their job is chasing money.
PAGE 36
The Nature of
Consignment
Why is getting paid (on
time or without a hassle)
such a universal problem for
artists and publishers? Consignment is a simple concept. When art is sold, the
gallery collects money that
belongs to the art provider.
The gallery then turns around
and pays the art provider
their share. Yet I hear from
both emerging and well-established art providers that
this is not always the case.
There is a lopsided balance
state lines)? That involves financial gymnastics that are
unrealistic for most artists or
publishers to pursue. Sometimes word gets out that a
gallery is a slow or no payer,
and that begins to impact
the quality of art that becomes available to the gallery,
and rightfully so. They might
pay the artist last because
they know that most artists
aren’t usually educated or
trained to be shrewd business people.
I’m making generalities here,
but we all might agree that
confrontation is not a quin-
What we really need to do is seek
ways to ameliorate conflicts
between artists, publishers and
galleries—and avoid having them
in the first place.
of financial power that places
artists in a vulnerable position, sometimes having to
beg for what actually belongs
to them in the first place.
Even with a signed consignment contract, created to
manage expectations, everything can still go awry—as if
the agreement didn’t exist at
all. If we’re being brutally
honest about it (and this article attempts to be exactly
that) many galleries who ignore their contract with the
artist do so because they
know that they can.
What is the artist going to
do? Sue them (often across
tessential artist characteristic. What we really need to
do is seek ways to ameliorate
conflicts between artists, publishers and galleries—and avoid
having them in the first place.
Now, before another word
is read, we should commend, applaud, and send
out heartfelt appreciation to
those gallery owners whose
standard practice is honoring
their agreements to their
artists and publishers. You
know who you are. Bless
you. You deserve every success you’re enjoying, and
every exceptional artist or
publisher should know who
you are. I’d like to propose a
way in which they would.
Brainstorming
Solutions
The fact remains that talented artists prosper from
gallery exposure. In spite
of e-commerce, physical
galleries still provide the
best opportunity to personally connect the public with
fine art. Conversely, most
galleries would be well-lit,
empty rooms without art
supplied to them on consignment. Since everybody needs
each other, it makes sense
to brainstorm ideas that
make consignment a simpler
and easier-to-manage transaction.
What if there was a consortium of artists and art
professionals (akin to a
consumer advocacy group)
that existed to identify
galleries as trustworthy?
Even televisions and washing machines have “seal
of approval” from trustworthy resources that guide
the consumer to make an
informed decision. In our
industry, what if an artist
could review a potential
gallery for representation,
and if a gallery was certified
as a “Gold Dot” gallery
(possible name for this
entity?). Art providers
would be comfortable sending that gallery the very
best of their work, knowing
that the gallery has a solid
ART WORLD NEWS
ToddGoldmanAd-1pg-REVISED-AUG12_Layout 1 8/2/12 3:19 PM Page 1
David & Goliath
(203)854-8566
[email protected]
www.toddisstupid.com
ART & BUSINESS
CONSIGNED ART
reputation for fairness and
honesty.
It hardly bears mentioning
that the most noteworthy
artists and publishers will line
up to send these “certified”
galleries their work. Knowing
they would be rewarded by
access to the best art, reputable galleries would clamor
to be a member of this exclusive group of galleries. As a
member in good standing,
“Gold Dot” galleries would
have the confidence that
they are receiving the best of
what artists have to offer.
What a great thing to be able
to tell their clients! Following
this article, I’ll be exploring
this idea in greater depth and
welcome input toward forming some sort of alliance that
might accomplish this. Having been a gallery owner,
artist and publisher, we’ve
been there. Being an artist
and publisher, we’re still
here. We recognize how
important it is to nurture
healthy relationships with our
retail gallery partners.
Other
Conversations
Aside from the obvious issues of consignment compensation, there are other
situations that can cause
stress in the relationship between an art provider and
gallery. At the top of the list
for galleries is when an artist
or publisher sells directly to
PAGE 38
a customer from their market—or worse, one of their
own clients. That’s a huge
breach of trust that is not
easily regained. It could be a
deal-breaker for the gallery
representing that artist and
understandably so. If an art
provider earns a reputation
for this transgression, finding
new and reputable galleries
will become difficult. Word
travels. No matter how good
the art may be, when a
gallery assumes the financial
burden of real estate exposure and staff (to name just
back to the rightful source.
Once again, it’s about honoring your commitments and
agreements. Sometimes a
gallery will choose to purchase original paintings upfront instead of consigning
them, and for that, they may
receive a better deal than
what would have been their
consigned price—which is
fair to expect. What is not
fair is when they return the
art that they purchased and
use it as a credit toward
other art that they sold on
consignment (yes, this actu-
What if an artist could review a
potential gallery for representation,
and if a gallery was certified as a
‘Gold Dot’ gallery, art providers would
be comfortable sending that gallery the
very best of their work.
two), it feels a lot like betrayal when they are “used”
in this manner.
ally happens). It sounds confusing—and it’s meant to be
—because it is not ethical.
The Internet makes it easy
for a customer to be introduced to an artist, pitched by
the gallery, then come home
and contact the artist directly, hoping for a better
deal. Most customers who
do this don’t think they are
doing anything particularly
wrong; they feel they are just
being savvy art collectors.
Those of us in the industry
know how damaging and unfair this practice truly is. It’s
up to all of us to adamantly
ensure that they are steered
What happens if an artist
or publisher has original art
on consignment with one
gallery and a buyer for it at
another? Clearly, they’d like
to sell the art, but they must
recognize that the hosting
gallery may have invested
in advertising that specific
painting, have a show or
home viewing coming up, or
perhaps they have several interested clients who haven’t
made the leap yet. There are
no hard and fast rules here,
but I’ve heard from several
sources on this matter. The
first consideration is how
long the gallery has had the
art. In many artist consignment contracts, the artist
has the right to receive the
art back within 30 days of
the request. This way, if the
gallery has prospects or
marketing investments, they
have the opportunity to maximize them. The worst that
can happen is that the artist
has to wait a month to sell
the painting. But I have found
that if you have a healthy
relationship with the gallery,
you can simply ask for the art
to be returned. If they have
no immediate buyer on the
horizon, or they’ve had the
art for a reasonable period of
time, they’re usually happy
to oblige. Someday they may
be on the other end of that
equation and they’d want the
same opportunity for themselves. Not to mention that
most galleries enjoy seeing
artists succeed. This helps
drive demand for the artist.
Part 2 of this article continues in a future issue.
Cristi Smith is co-owner and
president of Ford Smith Fine
Art, and is agent and publisher for her husband, artist
Ford Smith. Her expertise
spans two decades in the
retail advertising and marketing arenas with executive
leadership in Fortune 100
retailers in addition to startup companies in the highend home decor industry.
Call her at (770) 552-5942,
www.fordsmithfineart.com.
ART WORLD NEWS
HalfPageStacked_Layout 1 9/19/13 10:37 AM Page 1
ART WORLD NEWS
PAGE 39
SEP13-noe-pg1_Layout 1 9/19/13 11:43 AM Page 1
WHAT’S HOT IN OPEN EDITIONS
Blue Botanical I
Aimee Wilsons’ “Blue Botanical I” is
available in two sizes: 24 by 24 inches
($35) and 12 by 12 inches ($12). Telephone PI Creative Art, Toronto,
Canada, at (800) 363-2787 for details,
or go to: www.picreativeart.com.
Here are the
best selling prints
from the month of
August
Espirit
World of Coffee
“World of Coffee” by Clara Wells measures 20 by 27 inches and retails for
$38. Telephone Rosenstiel’s, London,
in the U.S. at (480) 305-0714 for
further information, or go to the website
located at: www.felixr.com.
Sally Bennett Baxley’s “Espirit” measures
36 by 24 inches and retails for $34. Telephone Poems Art Publishing, Salt Lake
City, Utah, at (888) 447-6367 or go to the
website located at: www.poemsart.com.
Exotic Regions I
“Exotic Regions I” by Mauro Cardozo measures
12 by 24 inches and retails for $22. Phone
Haddad’s Fine Arts, Anaheim, CA, at (800) 9423323, or go to: www.haddadsfinearts.com.
Color Block
“Color Block” by Wani Pasion measures 27 1/2 by 27 1/2 inches and retails for $38. Phone Winn Devon,
Richmond, British Columbia, at (800)
663-1166 or visit the website located
at: www.winndevon.com.
PAGE 40
Majestic
Beauty II
“Majestic Beauty II”
by Daphne Brissonnet
measures 12 by 36
inches and retails for
$21. For more information, phone Wild Apple,
Woodstock, VT, at
(800) 756-8359, or
visit the website at:
www.wildapple.com.
ART WORLD NEWS
SEP13-noe-pg2_Layout 1 9/19/13 11:47 AM Page 1
WHAT’S HOT IN OPEN EDITIONS
Modele II
“Modele II” by Elizabeth Medley
measures 24 by 24 inches and retails for $25. For further information, phone Sundance Graphics,
Orlando, FL, at (800) 617-5532
or visit the website located at
www.sundancegraphics.com.
Here are the
best selling prints
from the month of
August
Feather 2
Love Books I
“Love Books I” by Katie Guinn measures
11 by 14 inches, retailing for $10. Call
Gango Editions, Portland, OR, at (800)
852-3662 for more information, or go to:
www.gangoeditions.com.
“Feather 2” by
David Bromstad is
an open edition giclée print, measuring 30 by 60
inches and retailing
for $120. For
more details, telephone Penny Lane
Publishing, New
Carlisle, Ohio, at
(800) 273-5263,
or: www.pennylane
publishing.com.
Ocean Dream II
“Ocean Dream II” by Pam Ilosky is
an open edition giclée measuring
18 by 24 inches ($50). Call World
Art Group, Richmond, VA, at
(804) 213-0600 or visit the website: www.theworldartgroup.com.
Instance I
Whispering
“Whispering” by Rita Vindedzis measures
24 by 36 inches and retails for $42. For
more details, telephone Canadian Art Prints,
Richmond, British Columbia, at (800) 6631166, or go to: www.canadianartprints.com.
PAGE 42
“Instance I” by David Bailey measures
24 by 24 inches and retails for $35. For
further information, telephone Editions
Limited, Emeryville, CA, at (800) 228-0928
or go to www.editionslimited.com.
ART WORLD NEWS
SEP13-OE_Layout 1 9/19/13 11:48 AM Page 1
OPEN EDITION PRINTS
Image
Conscious
SunDance Graphics
“Sweet Surprise”
by
Christie
"Blue Floral and Bird I" by Tiffany Hakimipour
Image Size: 20” x 8”
E-MAIL: [email protected]
9580 Delegates Dr., Orlando, FL 32837
407.240.1091
www.sdgraphics.com
www.sundancegraphics.com
Image Size:
24" x 36"
800.532.2333
www.imageconscious.com
Editions
Limited
“No Place to Fall”
by William Vanscoy
Image size:
18” x 18”
Retail price:
$20
800.228.0928
www.editionslimited.com
4090 Halleck Street, Emeryville, CA 94608
Gango Editions
www.gangoeditions.com
Image Size:
48” x 24”
2187 NW Reed St., Portland, OR 97210-2104
ART WORLD NEWS
“Sense
Memory”
by
Hollingsworth
Image Size:
36” x 24”
800.532.2333
Haddad’s
Fine Arts Inc.
“Casa
Blanc II”
by
Jeni Lee
800.852.3662
Image Conscious
“Repose”
by E. Jarvis
Image Size:
26” x 26”
Also available as
a custom size giclée.
800.942.3323
Fax: 714.996.4153
www.haddadsfinearts.com
3855 E. Mira Loma Ave., Anaheim, CA 92806
PAGE 43
SEPT13-Calendar - horiz_Layout 1 9/19/13 10:42 AM Page 1
CALENDAR
September 19–22: Expo
Chicago, Navy Pier, Chicago. Produced by Art Expositions LLC. For details, visit:
www.expochicago.com or
call (312) 867-9220.
September
19–22:
Houston Fine Art Fair,
George R. Brown Convention Center, Houston. Hamptons Expo Group. Visit:
www.houstonfineartfair.com
or call (631) 283-5505.
October 3–6: Spectrum
New York, Javits Center
North, New York City. Produced by Redwood Media
Group. Contact Eric Smith,
e-mail: eric@spectrum-new
york.com, (216) 225-0962,
PAGE 44
or Rick Barnett at: rick@
spectrum-newyork.com,
(831) 747-0112 or: www.
spectrum-newyork.com.
October 3–6: Affordable
Art Fair NYC, The Tunnel
at 28th St. and 11th Ave.,
New York. Produced by
Ramsay Fairs. Visit: www.
affordableartfair.com or telephone (212) 255-2003.
October 19–24: International Home Furnishings
Market, High Point, NC.
Call (800) 874-6492 or visit:
www.highpointmarket.org.
October 25–27: Contemporary Art Fair NYC, including Art Off the Main, and the
American Fine Craft Show
NYC, Javits Center North,
New York City. Produced by
American Art Marketing.
Visit the website: www.
americanartmarketing.com
or call (845) 355-2400.
October 25–28: Toronto
International Art Fair, Metro
Toronto Convention Centre,
Toronto. Produced by Informa Canada Inc. For information, visit the website
located at: www.arttoronto.
ca or call (604) 730-2065.
October 25–31: International Fine Art & Antique
Dealers Show, The Park Avenue Armory, Park Avenue
at 67th St., New York. Pro-
duced by Haughton International Fairs, London. Visit:
www.haughton.com or call
(011-44) (0) 20 7389 6555.
November 6–10: IFPDA
Print Fair, The Park Avenue
Armory, Park Avenue at 67th
St., New York. Produced by
the International Fine Print
Dealers Association. For details, visit: www.ifpda.org.
November 21–24: The
17th annual Boston International Fine Art Show at the
Cyclorama, Boston. Produced by Fusco & Four/
Ventures LLC. For further
information, visit: www.fine
artboston.com or telephone
(617) 363-0405.
ART WORLD NEWS
HalfPageStacked_Layout 1 9/19/13 3:19 PM Page 1
ART WORLD NEWS
PAGE 45
MARKETPLACE
AMAZON ART
lower priced items that sell
at Amazon Art, in the hundreds, not thousands, and
more dollar range. “That is
where I feel it will end up.”
He could well be right.
Regina Held, owner of New
Grounds Print Workshop
and Gallery in Albuquerque,
NM, has had several sales
of original prints she has
placed on Amazon Art, all of
which at the time of this interview were between $150
and $350. For sales in this
price range, Amazon takes
about 20% and Ms. Held
gives the artist 60%. “I get
about 20% of the sale, but
I am comfortable with that
because I was going for
quantity—and I don’t want
my artists to get any less
money.”
She asked permission
from the artists she represents before placing their
work online—about 1,000
handmade prints, including
etchings, as well as some
photography and monotypes, with the eventual aim
of showing 2,000 to 3,000
pieces. “They were excited,” she says. Her reason for joining Amazon Art
was to make her artists’
work “visible on a global
scale. It seemed a fabulous
opportunity. Amazon is one
of the biggest retailers in
the world. There are a lot of
places out there trying to do
what Amazon is doing, but
they don’t have the algoPAGE 46
rithms to present art to a
client who is looking for
something.” One of the aspects of Amazon Art that
she likes is that when a
client is searching for art, it
will show them other pieces
they may also like.
sults for us, it’s important
to have a strong Internet
presence in business today.
Amazon’s reach is global
and it is my hope that by
participating in their fine art
program, we will extend the
reach of New River Fine
Art’s brand.”
The
former
Animazing
Gallery in New
York, specialist
in animation and
illustration art,
has had an Amazon webstore for
two years, as
well as a presence on eBay.
Work that Animazing Gallery
represented, before the gallery
evolved
into
AFA, is offered.
Jacqueline
Simon, art conNorman Rockwell’s “Willie Gillis: Packsultant at AFA,
age from Home,” an oil painting priced
at $4,850,000 on Amazon Art.
says you might
get someone onAmazon, too, was helpful line who sees a less expenin working with Ms. Held to sive item, but is interested
put her art online. They sent in seeing the original. “They
a representative to her may see the work on the
gallery to help with set up, sites, and then e-mail us at
free of charge. “And I have the gallery or call us to get
a ‘live’ person I can talk to more information—or they
or e-mail if we have prob- come in. It all works hand in
lems. It was a huge amount hand. But I don’t think there
of data entry, and we had to is ever going to be a time
figure things out, and they when galleries close behelped us.”
cause the Web has taken
away sales. You can’t apLisa Burgess, owner of preciate art until you have it
New River Fine Art, Las in your face—right in front
Olas Blvd., Fort Lauderdale, of you so you see the brushFL, agrees. “While the pro- strokes and pen marks.”
gram has yet to produce re- Ms. Simon does, however,
say that they have, for instance, big Peanuts collectors who have a few pieces
of Charles Schulz’s work,
that may buy from a photo
sent to them by AFA. “But
they are familiar with the
work, and the quality of
what we sell at AFA—because you could buy it
somewhere else, and it
might not have the same
quality. Even if it is by
Schulz, it has to be of a
certain caliber to sell in our
gallery.”
Amazon Art encourages
galleries and dealers who
are posting work on its site
to include information about
the art; each piece can also
be seen online in a room
setting, and can be magnified for a close look at the
work. In an interview with
Art World News, Amazon
Art spokesperson Erik Fairleigh said, “The approach
we are taking is we work
with reputable galleries and
dealers, and they put in the
background information on
the artwork on the site. So
what the customer sees is
coming from the gallery or
dealer. We never see the art
unless we are going to do
the fulfillment.” Most of the
work is fulfilled by the galleries and dealers selling the
work; some smaller photographs and prints are fulfilled by Amazon. “We have
a service of fulfillment by
Amazon, and we offer it to
two million sellers, worldwide—from TVs to shoes.”
ART WORLD NEWS
AMAZON ART
As regards Amazon Art’s
commission, it ranges from
about 5% to 20% in a tiered
scale based on the price of
the artwork sold—in a descending percentage as the
price goes higher. Galleries
and dealers, as the sellers,
have pricing control. “Our
services are very flexible, so
a gallery can put up art and
take it down at their discretion as many times as they
want. They may put up work
by one artist one day and another the next. And they
could change the price as
frequently as they want to.”
The work could be consigned to the gallery/dealer
or owned by them. It is up to
the gallery what art they list.
Amazon Art does not get
into how they are sourcing it.
When asked how sales
are going, Mr. Fairleigh said
Amazon doesn’t release
sales figures by category.
“But we are pleased with
sales.” He did also say that
Amazon Art wants to add
more galleries to its community of sellers. “Since the
launch, more than 200 galleries and dealers have contacted us, looking for an
opportunity to be a part of it.”
There is a pre-approval process in order to be a gallery
on Amazon Art. There needs
to be a good fit.“We want
galleries that offer something
unique and original.”
Continuing his comments
on Amazon Art, Greg Bloch
ART WORLD NEWS
says, “I don’t know what
the future of it is. I am an old
time art dealer. Certainly
they are not the only ones
doing this, but the critical
mass of Amazon lends credibility to it. If a galley is representing my art and they
put it up there, it doesn’t
hurt me, as long as they
don’t discount.” As he says,
Amazon, and all my books
and Kindles, as well as art
books from its rare books
department. It is fabulous
when I know what I want.
But as for fine art, I don’t
know. I am old school—I
want to touch and feel it. I
don’t know how you represent that online.” Someone,
he reasons, might want to
shop online
for a Miró
because
they saw
one in a
gallery and
wanted a
different
one. They
know what
they
are
looking for,
“Zihuatanejo” by Graham Lott, archival pighave seen
ment photograph, priced $950 on Amazon Art. the equivalent in “real
“Most people shopping on- life,” and can therefore be
line are looking for a better comfortable in these circumprice.”
stances shopping online for
fine art. “Many poohpoohed
Mr. Bloch is an ardent Amazon when they came
believer in brick-and-mortar into being in the ’90s, and
galleries. “I want to look at they have been pretty good.
the art and see the texture. I try to be the devil’s advoBut for millennials, it may be cate, and when I went to the
the only way they want to Amazon Art site I couldn’t
buy. My daughter is on the find anything wrong with it.
Internet all the time. That is They are not stocking art—
how she shops. So I don’t individual galleries are supknow the long-term effect. plying the art.
We have heard for 15 years
that the Internet would put
“Brick-and-mortar shopus out of business. It is a ping is done for the experihuge assumption that peo- ence; it’s retail therapy. I
ple would go to Amazon to just don’t know the future of
shop for fine art.
art sales online. Open editions, yes. But the kind of
“Amazon wants to be the things we sell (as dealers
superstore of the world. I and galleries), I don’t know.”
have bought shorts from Yet at other times in recent
art history, artists have taken
unconventional roads to
success. LeRoy Neiman was
disdained in his lifetime as
an artist, Mr. Bloch points
out, because he did work for
Burger King. Today, Neiman
is a household name, his
work is in many museums,
and he is considered a great
artist. “So what is wrong
with exposure?” The same
with Norman Rockwell. As
Mr. Bloch notes, he was an
illustrator to start with. “Exposure can translate into
legitimacy in the rarified
art world. I have resisted
licensing and product placement with my artists because I don’t want to
denigrate the fine arts—but
maybe I am an idiot. My
jury is out.” When one of
the galleries that represents
Mr. Bloch’s work called him
to ask if they could put
Royo’s prints on Amazon,
he gave them the go-ahead.
At the time of this interview
he said, “Has there been a
sale? Not one.”
As Mr. Bloch observes,
every 20 years there is a
new generation of art buyers in the 35 to 55 age
range. “I have done a couple of generations, and I
don’t know the motivation of
new buyers. I want to go
with the flow. But nothing
ever replaces the gallery. I
may be naive, but I like walking into a store. I enjoy the
retail experience.”
Sarah Seamark is Editor in
Chief of Art World News.
PAGE 47
OCT12-Pamela Sukhum page 1_Layout 1 9/19/13 10:52 AM Page 1
ART & HEALING
PAMELA SUKHUM: THE BEAUTIFUL PROJECT
by Sarah Seamark
As an artist, Pamela Sukhum
looks beyond what her paintings can convey to the
viewer. She focuses on the
possibilities of what the
creative process can contribute to healing children
traumatized by war and
sickness, as well as helping
children and adults with
special challenges. The Minneapolis-based artist, whose
work is represented by her
own company, Infinite Vision
Art, is embarking on the second phase of her Beautiful
Project. In this phase, she is
partnering with art galleries.
When a gallery holds an exhibition of her artwork, she will
go into the community to
work with those who
can find benefit in the creative process. For instance,
when Vinings Gallery in
Smyrna, GA, held a show of
Pamela’s paintings and
prints, she spent time at
Gigi’s Playhouse in Atlanta, a
Down syndrome educational
center, where she worked
creatively with the children.
She has also been working
with veterans from the V.A.
Medical Center in Minnesota
suffering from PTSD.
Now she is reaching out
to galleries nationwide to
partner with her on these
satellite projects by hosting
an exhibition while she works
in the community, helping
those with special needs
through art. In addition to
that, she has just rolled out
PAGE 48
ArtVENTURES, her 30-foot
mobile studio that takes the
Beautiful Project on the road
across the U.S.
plains. The UN High Commissioner made it possible
for Sukhum to enter the region with a small group she
Pamela Sukhum brought artwork into the lives of refugees
at the Gaga camp along the border of Chad and Sudan
under the auspices of The Beautiful Project.
The Beautiful Project had assembled, including a
began several years ago photographer and a rewhen Pamela Sukhum, under searcher from the University
the auspices of the United of Minnesota who wanted
Nations High Commissioner educational data on the projfor Refugees, worked with ect. “Once we got to Africa,
displaced
children from
the Darfur
conflict
in
western
Sudan. “I got
the idea to
do the project in Darfur
and
contacted organizations
involved in Pamela Sukhum takes her Beautiful Project
the area be- around the U.S. in conjunction with gallery
cause, with- shows of her work. Here she is at Gigi’s Playout support, house, Atlanta, a Down syndrome awareness
you can’t get and educational center. At the same time,
in,” she ex- Vinings Gallery hosted her show.
we went into the area on UN
planes and were escorted to
certain places.” The entire
project was about a month
long. The following year she
and her party went to the
southern border of Chad and
the Central Africa Republic,
where she also worked with
children.
“Our purpose was to
meet the basic human need
for beauty, meaning, and
self-expression.” She believes that the opportunity
for people to transform their
lives through self-empowerment can be achieved
through the vehicle of art.
Some of the children had
been in camps for as long as
10 years. They came from a
wide area, and thus at least
two interpretors were often
required. She says, “These
kids were amazing. I just
gave them a pencil and
paper to draw whatever they
wanted. For three hours they
would draw—totally engaged. And we realized that
these kids were hungry for
something that they could
create just for themselves.
“I wanted the project to
be so easy to administer
that I could train UNICEF
and UN aid workers to go
into classrooms and work
with the refugees when we
left.” In this way, the Beautiful Project would be ongoing. After the first overseas
ART WORLD NEWS
OCT12-Pamela Sukhum page 2_Layout 1 9/19/13 10:56 AM Page 1
THE BEAUTIFUL PROJECT
mission, the project was
evaluated for its potential
for lasting impact. “And we
realized we wanted it to go
far beyond what we could
do, so it was important that
it be teachable. Even older
children could administer it
to younger children.” Each
day there are different exercises, and they are progressive. It is intended to be of
benefit both to people who
have done art before and
those who have not. “It is
not about the techniques of
drawing—it is to encourage
them to be creatively expressive and to share their
feelings through art.” Much
of it is an exercise in trust
building. “I encouraged them
to use their imagination
through exercises, such as
drawing with their eyes
closed to develop an inner
vision. What we observed
over time was that they built
trust in the room to feel safe
enough to close their eyes.
Other days we would ask
the children (when they
were more comfortable) to
draw something that had
made them sad and something that would make them
happy. They began to draw
pictures of the war. They
might not have talked about
it, but were able to make
drawings. They were encouraged to talk about their
pictures, making it easier for
them to tell their stories.
And so it became an act
of empowerment. We would
also ask them draw someART WORLD NEWS
thing they would like to see
in their life, and they might
draw flowers and animals.
The children could express
the future they wanted for
themselves. So it was really
an exercise in encouraging
the children to create a different future for themselves,
and new possibilities.”
Next, Pamela planned to
go to Rakai in Uganda. This
would be a different situation
from her two other missions.
Beautiful Project, and sharing its potential with others,
is that she herself found
her true purpose in life
through art. Her parents,
both from Bangkok, Thailand, emigrated to the U.S. in
the ’60s, and made a home
for Pamela and her brother
Patrick in Minneapolis. As
her father was a cardiologist,
Pamela went to college to
study cellular and molecular
biology. In graduate school
she worked as a research
scientist whilst also becoming the first employee in a
start-up medical company
specializing in cardiology and
electro physiology. But she
knew she was hungering for
something more creative.
Her artwork is about her
own experiences in life, as
well as universal experiences. What she hopes is
that her art will stir a response in the viewer. Some
of her work is inspired by
nature, being out in the
woods and on the water. “I
feel very comfortable in the
outdoors,” she says. “I try
to convey what it is like
being out in the water in the
waves—and how riding the
waves becomes a metaphor
for life.”
“One summer I decided
to try something new as
a hobby—something that I
might be scared of. It could
have been sky diving, but I
chose art. It was intimidating
to me that people could cre-
Pamela Sukhum’s mixed
media paintings retail from
$950 to $18,000 and her
prints, in very small editions,
from $750 to $2,400. Telephone (612) 207-8148 or:
www.infinitevisionart.com.
“Bamboo Among Oaks” by Pamela Sukhum is an original
diptych with each panel measuring 24 by 30 inches, retailing for $5,800. The diptych is also available in an edition of
25, retailing for $1,600. Visit: www.infinitevisionart.com.
The region has been devastated not by war but by the
HIV virus. Many households
are child-run because a generation has been decimated,
from ages 25 to 45. When
she goes to Rakai, possibly
in late 2014, it will also be
to encourage earning power
and sustainability. As she
says, “Everyone needs both
beauty and bread.”
The reason that Pamela
feels so strongly about the
ate an image with feeling,
and emotion, and a message.” She began to paint
10 to 14 hours a day. Even
when she went back to
work, she continued painting
whenever she could. At
about that time, 10 years
ago, a very close friend of
Pamela’s died in the night. “It
was the first time I experienced a loss so close to
me. It was devastating, and
I asked myself what I was
doing with my days and my
life. I gave myself a year to
leave the medical field and
become a full time artist.”
During that year she learned
all she could about making a
living as an artist. Today her
work is represented in galleries across the country
through her company, Infinite
Vision Art.
PAGE 49
SEP13-NewArt-pg1_Layout 1 9/19/13 11:24 AM Page 1
NEW ART
Purple Tree and Mountain
Eyvind Earle
Publishing
LLC, located
in Monterey,
CA, introduces
“Purple Tree
and Mountain,”
a serigraph in
an edition of
200 and measuring 27 by
36 inches. The
retail price is
$1,500. For
more information call (831)
372-4023 or
go to the website at: www.
eyvindearle
.com.
Destination Napa
Eric Christensen Fine Art & Editions, San Jose, CA, presents “Destination Napa,” a giclée on canvas available in
three sizes: a 48- by 36-inch in an edition of 80 ($2,040), a
40- by 30-inch in an edition of 150 ($1,580), and a 32- by
24-inch in an edition of 150 ($1,420). Call (408) 445-1314
for more details, or visit: www.ericchristensenart.com.
PAGE 50
Marina Bridge, Sydney, Australia
Arnot Gallery, New York, presents “Marina Bridge, Sydney,
Australia” by Guy Dessapt as an oil on canvas measuring
24 by 20 inches. Price available upon request. For further
information, telephone (212) 245-8287 or go to the
company’s website located at: www.arnotgallery.com.
All In
Jack Terry Art, Selma, TX, debuts Jack Terry’s “All In,” an
open edition giclée on canvas measuring 14 by 11 inches.
The retail price is $75. For more information, call (866)
519-7267 or go to the website at: www.jackterryart.com.
ART WORLD NEWS
SEP13-NewArt-pg2_Layout 1 9/19/13 11:26 AM Page 1
Shore Break
Addison Art Group, Delray Beach, FL, introduces Vadim
Klevenskiy’s “Shore Break,” an embellished giclée on
canvas in an edition of 95, measuring 60 by 35 inches.
The retail price is $2,400. For more details, telephone
(561) 278-5700 or visit: www.addisonartgroup.com.
Toast With Me
TMix Studios,
located in Columbia,
SC,
presents Tariq
Mix’s
“Toast
With Me,” an
acrylic on canvas measuring
36
by
48
inches.
The
retail price is
$5,500. Phone
(803) 351-2723
or go to: www.
tmixstudios.com.
Up Hill Victory
9/9/99 #3, CA
Scott Jacobs
Studio, Rancho Santa Fe,
CA, presents
“Up Hill Victory” by Scott
Jacobs as a
giclée on canvas in three
sizes: 38 by
48 inches in
an edition of
15 ($5,200),
29 by 36
inches in an
edition of 50
($1,550), and
19 by 24
inches in an
edition of 100
($595). Phone (858) 756-6725 for further information, or
go to the website located at: www.scottjacobsstudio.com.
Bob Kolbrener Photography, Carmel, CA, debuts “9/9/99
#3, CA,” a photograph measuring 20 by 16 inches, retailing
for $5,000. For more details, call (631) 447-3997 or visit
the website at: www.bobkolbrenerphotography.com.
ART WORLD NEWS
PAGE 51
SEP13-GalleryLights_Layout 1 9/19/13 3:34 PM Page 1
GALLERY LIGHTS
Artist Ferjo, second from left, is pictured at Wentworth Gallery
South, located in Charlotte, NC, with, from left, collector
Danielle Clark, associate gallery director Adela Jurca, and
consultants Ingrid Schornstadt and Josh Peters.
At Redbud Gallery, a fine art gallery located in Houston’s Historic Heights, are collectors Amr Gamal Eldin and Ayoo Rashid
pictured during the opening reception for “The Tigering!,” an exhibit of the watercolor and gouache drawings of Manik Nakra.
Gallery owner Alan Avery, center, celebrates at a reception for
a show of work by artist Robert Kipniss, right, along with friend
and American Society Portrait Painter Everett Raymond
Kinstler, left, at Alan Avery Art Company, located in Atlanta.
The Downtown Art Gallery owner and artist Heidi Thamert,
right, is shown with collectors, from left, Christina Donohue
and Christi Beasley during the Titusville Sea Turtle Summer
Soiree, held each year at the Titusville, FL-based gallery.
During the Grand Opening celebration of Catalyst Gallery in
Toronto, Canada, are, from left, owner Brian Liss, his daughter
Marlee Liss, a performance model that entertained attendees
during the event, and family friend Andrew Kosc.
At Gallery 300 in Santa Rosa, CA, during the juried art exhibition
“Untitled” are, from left, artists Michael Risch and Chris Beards
who, along with 22 other artists presented their work that
ranges from encaustic paintings to sculpture to photography.
PAGE 52
ART WORLD NEWS
SEP13-Classifieds_Layout 1 9/19/13 3:23 PM Page 1
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SEP13-index_Layout 1 9/19/13 3:04 PM Page 1
ADVERTISERS
COMPANY LISTING
PHONE
PAGE
Arnot Galleries ..................................................................56
COMPANY LISTING
PHONE
PAGE
Pease Pedestals ................................................................45
www.arnotgallery.com
www.peasepedestals.com
212.245.8287
847.901.4440
Bentley Global Arts Group ..................................................39
Penny Lane Fine Art & Licensing ..........................................39
www.bentleyglobalarts.com
www.pennylanepublishing.com
888.456.2254
800.273.5263
CJR Fine Arts ..............................................................11, 17
Quality Art Auctions ..........................................................19
www.cjrfinearts.com
www.qart.com
561.333.9472
310.405.6183
Digital Technology Group ..................................................23
Radiant Art Studios ..............................................................9
www.dtgweb.com
www.radiantartstudios.com
800.681.0024
978.571.2121
Editions Limited..................................................................43
Redwood Media Group ......................................................35
www.editionslimited.com
www.redwoodmg.com
800.228.0928
216.225.0962
Ford Smith Fine Art ............................................................15
Robert Bane Fine Art ....................................................28, 29
www.fordsmithfineart.com
www.fabianperez.com
770.552.5942
310.205.0555
Framerica ....................................................................1, 31
Sun Dance Graphics ..........................................................43
www.framerica.com
www.sundancegraphics.com
800.372.6422
407.240.1091
Gango Editions..................................................................43
The Art of Todd Goldman....................................................37
www.gangoeditions.com
www.toddisstupid.com
800.852.3662
203.854.8566
GE Capital........................................................................45
The Thomas Kinkade Company............................................21
www.gogecapital.com/luxury
www.thomaskinkadecompany.com
866.209.4457
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Haddad’s Fine Arts Inc. ......................................................43
Top Dogs by Chris Collins ..................................................13
www.haddadsfinearts.com
www.lyricalfineart.com
800.942.3323
631.787.8585
Image Conscious ..............................................................43
Universal Arquati Moulding ................................................33
www.universalframing.com
800.532.2333
800.668.3627
Larson-Juhl ......................................................................2, 3
Wellspring Communications ................................................25
www.larsonjuhl.com
e-mail: [email protected]
800.438.5031
203.854.8566
Lyrical Fine Art.....................................................................6
Westlake Village Gallery LLC ..............................................44
www.lyricalfineart.com
www.wlvart.com
631.787.8585
805.496.7100
The Moss Portfolio............................................................4, 5
West Coast Art & Frame Expo ............................................27
www.pbuckleymoss.com
www.wcafshow.com
800.430.1320
800.969.7176
Park West Gallery ..............................................................21
Wild Apple ......................................................................41
www.parkwestgallery.com
www.wildapple.com
800.521.9654
802.457.3003
Parrot Digigraphic Ltd. ..................................................8, 53
World Art Group ..............................................................55
www.parrotcolor.com
www.theworldartgroup.com
877.727.7682
804.213.0600
Art World News, (ISSN 1525 1772) Volume XVIII, Number 8, is published 10 times a year by Wellspring Communications, Inc.,
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PAGE 54
ART WORLD NEWS
Arnot-SEP13_Layout 1 8/28/13 10:55 AM Page 1
Guy Dessapt, Autumn In New York
Guy Dessapt
‘Central Park in New York, in Autumn’
24x30”
Exclusive Representatives for Guy Dessapt in the USA
Dealers of Fine Original Oil Paintings for Five Generations
ARNOT GALLERIES, SINCE 1863
HERBERT ARNOT, INC.
250 West 57th Street, 10th Floor, New York, NY 10107
Phone: 212-245-8287 • 'After Hours' phone number: 917-570-7910
E-mail inquiries: [email protected]
www.arnotgallery.com

September 2013 - Art World News

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